THE MONKEES
HEADQUARTERS
(DELUXE EXPANDED EDITION)
TV Guide called it “the Great Revolt of ‘67.” But it wasn’t a docudrama or movie of the week. Tucked away amongst the obligatory crossword puzzle and casserole recipe, Dwight Whitney chronicled The Monkees’ creative struggle with svengali Don Kirshner. All the strange but true details were laid out leading up to the creation of their third album, Headquarters.
“The Monkees were artistically hung up because what they really craved was acceptance,” wrote Whitney. “They just didn’t know how to go about getting it. Their pride was hurt. They were increasingly aware that it was The Beatles, The Byrds, The Mamas & The Papas to whom the musical world looked with genuine if sometimes grudging admiration. The Monkees felt like clowns. Thus the boys were frustrated by the very system that enriched them. The love match between the boys and Kirshner was starting to decline.
“It began with Mike Nesmith. Mike fancied himself not only a musician, but a record producer and composer as well. Kirshner rode a narrow line between tolerating and patronizing [the group]. He listened – but not very hard – to the tapes they recorded on their own in naïve hope that one of them would please Donnie. He made vague promises that (the boys later claimed) he never kept. Clearly a showdown was coming, and come it did.”
“Let me tell you what happened,” explains Kirshner some 40 years later. “I go to The Beverly Hills Hotel. I had two bungalows there: one for my equipment to rehearse with The Monkees and one for my family. I’m all excited. I’ve got four checks for the boys – these are guys who had no money – for a quarter million apiece. It’s important money. It’s unbelievable. So you’d think they’d give me a hug, right? We’re outselling The Beatles.”
Beatles or no Beatles, there would be no hug for Donnie. Instead, The Monkees came bearing a list of demands. In short, they wanted to pick the songs they sang. Furthermore, they wanted to play on the songs they recorded. Essentially, they wanted to be The Monkees.
Things got uncomfortable. They threw Donnie a bone. Kirshner could oversee their work and take his credit as Music Coordinator. Donnie danced around the subject while playing the band four new demos for their next session. He quickly forgot that The Monkees wanted to pick their own material. According to TV Guide, Nesmith told Kirshner, “We could sing ‘Happy Birthday’ with a beat, and it would sell a million records. Your argument is no longer valid because we are The Monkees.” Nesmith threatened to quit unless Kirshner gave the band some input. When told by Kirshner’s attorney that he better check his contract, Nesmith smashed his fist through the wall of Kirshner’s pricey suite, telling the attorney, “That could’ve been your face.” With the room still in shocked silence, Nesmith stormed out.
“I was very impressed, because I thought the Beverly Hills had pretty strong walls,” chuckles Kirshner now, though he still seems shaken by the events. “Mike hit the wall in front of my wife, Sheila, and my mother-in-law, Joyce, which is embarrassing. It’s like going to a graduation, a bar mitzvah, or a confirmation. You figure it’s the happiest day of your life, right? They’d at least shake my hand, right? So, that’s what I experienced, and that’s when I said to myself, ‘That’s the end for me. I’m gonna do a group that doesn’t talk back.’”
“It was a full-on confrontation between me and Don Kirshner,” says Nesmith. “[The Monkees series creators] Bert Schneider and Bob Rafelson instantly got it. They said, ‘You know, you’re right. What do you think about you guys playing together as a band?’ I said, ‘Well, what you’re basically asking to have happen here is a really good tennis player, and a really good football player, and a really good basketball player, and a really good golfer get together and all play baseball. We are good athletes, but we don’t play the same sport. It’s weird – you’re not going to make a band out of this. We could give it a try. There’s nothing wrong with doing that. Maybe make a little garage band music.’”
To this end, Nesmith enlisted the help of former Turtles bass player Chip Douglas to produce The Monkees’ first “group” recordings. Though Douglas had arranged The Turtles’ biggest record, “Happy Together,” he, like The Monkees, had no prior experience as a record producer. No matter, Nesmith told Douglas, he’d teach him how to produce records. “His main thing I remember was: ‘Well, if you think it has enough of the highs on it, just add more,’” says Chip Douglas of Nesmith’s technical advice. “‘The engineer will tell you, “It’s fine, we’ve got enough highs.” But don’t believe him. Add more highs to everything.’ That was the main upshot of it.”
Despite this questionable recommendation, Chip took his job very seriously and set about taping the group fresh from a series of weekend concerts. Their first effort together, Baker Knight’s “She’s So Far Out, She’s In” fell apart. But slowly the group’s sound came together on an early version of Nesmith’s transcendent pop gem “The Girl I Knew Somewhere” (heard here as a bonus track) and fully gelled on Bill Martin’s sprightly “All Of Your Toys” (also a bonus track).
Still, there were problems. “The publishing probably wasn’t available on that one,” says Douglas of Bill Martin’s “Toys,” which was quickly nixed for release. “That killed several things; without Screen Gems owning the publishing they didn’t want to do it.” Moreover, the group’s take on “The Girl I Knew Somewhere,” with Nesmith singing lead, was deemed unsuitable for single release.
While The Monkees went back to the drawing board to come up with an acceptable single, Kirshner went into overdrive, producing nearly a full album’s worth of backing tracks without the group. On the same day The Monkees played to almost 14,000 fans at Phoenix’s Memorial Coliseum, producer Jeff Barry was 3,000 miles away at RCA in New York City turning out six backing tracks. Among these were the group’s next single sides – “A Little Bit Me, A Little Bit You” and “She Hangs Out” – as well as Barry’s “99 Pounds” and “You Can’t Tie A Mustang Down” and the Neil Diamond standout, “Love To Love” (all of which appear here as bonus tracks in newly remixed form).
By the end of January 1967, Kirshner had amassed 15 newly recorded tracks for the group. Now all he needed was their voices. Luckily, Davy Jones had remained close to Donnie through the group’s turmoil. “The only guy who was appreciative to me was Davy Jones,” says Kirshner today. During a weekend trip to New York City, Davy left his fellow Monkees (and their new producer, Chip Douglas) to meet Jeff Barry at RCA Studios. He was then cajoled into hurriedly adding his voice to four songs before leaving the session. The handclaps and backing vocals would be left to Barry and his studio crew.
On the face of things, Kirshner was back in business. Well, almost. A promise he had made to Neil Diamond came back to haunt him in February 1967. “I had the aggravation of committing to Neil Diamond after ‘I’m A Believer’ [became a #1] that I would make one of his songs The Monkees’ next single,” says Kirshner. The problem was that Donnie could sense that Diamond’s “A Little Bit Me, A Little Bit You” was “rather ordinary” and certainly not a #1.
Kirshner’s troubles didn’t end there. “They told me they would fire me if I put it out,” he says of Columbia Pictures’ reaction to his choice for The Monkees’ third single. The company, run by show creator Bert Schneider’s father, wanted Kirshner to give the boys a shot with one of their own songs. “I thought they’d have a parade for me, thank me for my work. I was working around the clock in the studio for 30 hours, 40 hours. You know, whatever it took to get the albums done for the thing. But no appreciation. I was so uptight that I was determined.”
By the time The Monkees had regrouped to cut an acceptable take of “The Girl I Knew Somewhere” (with Micky on lead vocals) for single release, Kirshner had already mastered and pressed records in Canada of what he deemed their next 45 to be: “A Little Bit Me, A Little Bit You” coupled with “She Hangs Out.” As Nesmith recalls, “Kirshner set his heels,” and when it came time to issuing a group-created recording, “said, ‘I’m not gonna do it.’ Which ultimately cost Kirshner his job. They fired him.” Only days later, The Monkees’ third single was re-pressed in the U.S. with Nesmith’s “The Girl I Knew Somewhere” on the flipside of “A Little Bit Me, A Little Bit You.” As TV Guide put it: “Kirshner was out, flower power was in.”
By the end of February 1967, Chip Douglas was put to work making a full album with the group. “Don Kirshner got fired, and it looked like we had to continue,” says Douglas. “Pretty soon, Lester Sill [Kirshner’s replacement] said, ‘Well, look, we’ve got to synch new songs into the show, and we’ve got to have this record out quickly. So let’s all get to work.’ And so they took off from the TV show for six weeks, and we went into Studio C there at RCA and concentrated on making an album.”
The difference between the group’s innocent pop and homespun folk-rock stands in stark contrast to Kirshner’s more contrived concoctions. If anything, the band returned to the sound songwriter/producers Boyce and Hart had pioneered on their debut album. Among the first tracks taped for Headquarters were Nesmith’s charmingly countrified “Sunny Girlfriend” and a remake of Boyce and Hart’s spin on Paul Simon-styled storytelling, “Mr. Webster.”
“I like that song a lot,” says Peter Tork, who threw himself into the album’s musical arrangements. “I was so pleased at one point where we pause in the song to sing ‘Sorry, stop.’ The song stops right there. We fought for a while before that was decided on. I remember the take that that happened. You know the tempo that we got to was the original tempo, right on the money, I think. I really liked how we did that.”
Falling into line as a band was not an easy task for The Monkees, but it often made for some humorous moments, one of which is captured in the track “Band 6.” Not only was Micky Dolenz a novice on the drums, but his more accomplished bandmate Michael Nesmith had barely learned the pedal steel guitar when he decided to break it out for the Headquarters sessions. “He just started playing that, the Looney Tunes deal,” says Chip Douglas of Nesmith’s first fully recorded foray on the instrument, a rendition of the Merrie Melodies cartoon theme. “Micky was playing his own thing and not paying attention to what Mike was doing, and Mike was kind of doing his thing; the two different rhythms weren’t going together. I thought, Well, that’s kind of interesting, and then what if we go back and do it a second time where it’s all together? So I think we just had that first little take of it where Micky’s playing the double-time drums, and that went down on tape. Then the idea was put together to say, ‘I think you got it now, Micky.’ That was kind of an afterthought to try to make sense out of it.”
Despite some shortcomings on the drums, Micky arrived at the Headquarters sessions with the album’s standout song, “Randy Scouse Git.” Capturing the sights and sounds of his recent trip to London, the lyrics name-dropped some famous faces amongst its blurred imagery. “It was the morning after The Beatles had thrown us a party,” explains Dolenz. “I was literally just making it up as I went along. It’s not very significant but it mentions The Beatles, it mentions this girl I was with at the time who later on was to become my first wife [Samantha Juste]. She’s the girl in the limousine. It was just about my experiences. It was like word association, really. Mama Cass is in there, who I knew at the time. The Monkee experience of limos with black darkened windows and black leather Naugahyde. Then there was a social comment, ‘Why don’t you cut your hair, why don’t you live up there?’ It was about young long-haired hippies being abused by the establishment.”
“Micky played me the verse and he played me the chorus and he said, ‘And then at the end we do them both at the same time,’” remarks Tork of Micky’s earliest run-through. “Wow, I thought, that was a brilliant piece of music.” Chosen as a single in the U.K. [where it was retitled “Alternate Title” to avoid controversy], the song was The Monkees’ most inventive arrangement to date. “I don’t recall specifically how we managed to put the arrangement together,” says Dolenz, “but it was a pretty collaborative effort at the time with Chip Douglas. I should think Chip had a lot to do with it.” (An alternate, early take of the song can be heard as a bonus track on this release.)
Sessions rolled on with Nesmith’s “You Told Me,” a song that borrowed the bass line from the Beatles’ “Taxman,” as well as the song’s goofy count-off. The Monkees’ comedic take on counting in the song showed that, while they were constantly compared to The Beatles, they never took themselves too seriously. “The opening is satirical of ‘Taxman,’” says Tork, who provided the song’s banjo track. “Very interesting use of banjo on that cut. I suppose anybody listening to it would sort of automatically throw that into a country bag in their mind, but I always thought that it was just pretty ‘rocky’ use of the banjo. [A] way to play the banjo in a rock setting.”
Around this time, the group recorded another off-kilter composition for the album, a spoken-word piece titled “Zilch.” “I know that it started from Micky hearing an announcement at an airport: “Mr. Dobalena, Mr. Bob Dobalena,” says Chip Douglas. “That got that going, then I think Mike kind of suggested a few things and Peter had an idea. ‘Let’s do a little round with everybody saying something different and say “Zilch” at the end of it.’ It just kind of became another little bit in there, you know?”
“We had enough separation so that we weren’t leaking too badly into each other’s mics and we just heard each other on the earphones,” says Tork of the session. “There were the two sections: we did the one slow and we did the one fast. We did it a while and then assembled the slow and the fast one and the laughter.”
One of the album’s more tender moments came on March 4th when the group set about rearranging Boyce and Hart’s “I’ll Spend My Life With You.” Although the song had been taped in late ‘66 by the songwriters, The Monkees brought an innocent charm to the group remake. “It was a little different than the one we did,” recalled the late songwriter Tommy Boyce in 1994. “It was a little more country. I think – they put some steel guitar in it. I actually liked our version a little better, but they were both quite good, I thought.”
“I managed to talk to Tommy about that,” says Tork. “He really was thinking about a specific person when he wrote that song. You can tell. The song is heartfelt.” Peter provided the song’s intricate acoustic 12-string opening, harmony vocals, organ, and celeste solo. “The rhythm section is Micky playing backbeats [on the guitar] and David on the tambourine,” notes Tork. “Michael was just taking a few pedal steel lessons. I would not like to have seen us be a country music band, but I love the idea of Michael playing pedal steel. In some ways he’s a very powerful guy.”
As sessions swung into full gear, Chip reintroduced his song “Forget That Girl,” a tune initially passed on by Kirshner a month earlier. “They said, ‘Well, do you have a song?’” recalls Chip. “I said, ‘Yeah. Well, I have this one song that I’ve written.’ Actually, I’d showed it to Kirshner too, and his comment was, ‘It kind of has a negative message, don’t you think?’ I was really taken aback. I thought, ‘Well, I never thought of it that way.’ It was kind of advice to myself because I was crazy about a girl who had this other guy that she was crazy about. I knew it was never going to work out.
“I had, I remember, real mixed feelings when we did that because no one could pick up on the original riff that I had worked out for it. I had gone in and done a demo of it with Mark Volman [of The Turtles]. It sounded really neat; I had doubled the bass parts. It had an entirely different riff that was more like the ‘Rescue Me’ bass riff from the Fontella Bass hit. I just got hung up on that particular style of bass playing – you know, the Motown thing. Nobody could get the hang of that riff, and so I remember being kind of bummed out as we did that. It turned out a lot more bubblegum than I had hoped.”
Despite corporate pressures to complete the album, The Monkees still found plenty of time to goof around, often with the tapes rolling. Informal recording of items such as “Jericho” (a.k.a. Micky tries out a French Horn), “Pillow Time” (Micky’s mother’s lullaby set to some psychedelic zither), and “Peter Gunn’s Gun” (garage band Mancini) all show the fun and frolicsome nature of the Headquarters sessions.
“I was always wanting to get real stuff done, you know?” remembers Chip Douglas. “The horsing around I kind of had little patience for sometimes, ‘cause there was so much to do. I had guys saying, ‘We need product, Chip, not comedy.’ They were a comedy group on television, so why not put a little comedy in the albums too? That was kind of my feeling. It just was tension relievers when everyone was tired of tracking 15, 16, 20 takes in a row and not gettin’ it. So just to goof off was kind of welcome relief, you know?”
The group got some “real stuff done” on March 16th with the taping of two of the album’s key tracks: Nesmith’s “You Just May Be The One” and the Mann and Weil classic “Shades Of Gray.” A staple of their live sets from the very beginning, The Monkees’ confidence as a group was truly shown on “You Just May Be The One.” Captured in just four takes, the results were two minutes of pop perfection. The song had caught Douglas’ ear in ‘65 when he saw Nesmith in his pre-Monkees days belting it out at The Troubadour. “That’s when I kinda first got to know him,” recalls Chip. “I saw him with [soon-to-be- Monkees stand-in and songwriter Bill] Chadwick. In particular, they were doing ‘You Just May Be The One.’ That is the one song that I remember I was really impressed with because I remember those harmonies: Bill Chadwick hitting that high A note there [on the bridge]. So when the song came up for suggestion to put on the album, I said, ‘Yeah, that’s great. Can we do that same harmony on there and everything like you guys used to do it?’ He said, ‘Sure, Micky will do it.’”
“Shades Of Gray” featured three Monkee vocalists and exhibited Douglas’ gift for vocal arranging, which he had honed as a member of the Modern Folk Quartet. “That was really where I had confidence. A lot of times they would have something different that they wanted to sing, but I liked roots and fifths kinda harmony: two-part harmony in particular. Harmony is a pretty natural thing for me. I hear a part there, and I know exactly what I want it to be.”
“Great song,” says Tork of “Shades Of Gray.” “We were just thrilled to death with that. I was really pleased with that little piano introduction I wrote. We created that arrangement ourselves from scratch. I don’t remember what kind of a demo they gave us, except that it had verse, verse, instrumental, half-verse, and out, no bridges. Mike wrote the horn and cello parts in his head and sang them to me, and I notated them. It was great to have him do that and to know how to tell a French horn player what to do. The horn player said, ‘How about one of these [for the ending] – bah bah bada?’ I said, ‘Sure, go ahead.’”
The following day, The Monkees remade another of Boyce and Hart’s rejected recordings from late ‘66: “I Can’t Get Her Off My Mind.” The perfect Davy Jones soft-shoe-shuffler, Micky tapped out the song’s rhythm on a wood block while Peter played some saloon-style tack piano. “Playing the tack piano was fun; the barrelhouse thing,” says Tork. “It was a lot of fun playing (different) instruments on (Headquarters).”
With their confidence now at an all-time high, the group made up a 12-bar rock jam called “No Time.” “We were working real well together at that time, of course,” says Dolenz. “I remember we just wanted to do a rock ‘n’ roll tune. I think that probably started off as a jam or maybe it started off as ‘Long Tall Sally.’ We were probably just jamming or screwing around and laid down the track. I remember Mike and I sitting in the control booth writing the lyrics. (The song’s first lines) ‘Hober reeber,’ that was Bill Cosby; we were big fans of Bill Cosby at the time. Then ‘Runnin’ from the rising heat to find a place to hide, the grass is always greener growing on the other side’ is [about] police and marijuana. ‘Andy, you’re a dandy, you don’t seem to make no sense,’ is about Andy Warhol.” In the end, the group donated the song to their long-suffering engineer, Hank Cicalo, a veteran of the group’s studio shenanigans. “We just gave him the song as a tip for being so loyal and such a wonderful engineer for so many years,” admits Dolenz. “He made a lot of money off that! But we wrote it; he didn’t write it.”
“He was able to make a down payment on his first house with that,” recalls Chip. “They wanted everybody to have a little something extra. That’s why they said, ‘Chip, if you’ve got a song [on the album, ‘Forget That Girl’] then we’ll give Hank “No Time’” – since that was a little jam and stuff. They were just anxious to take care of everybody, because we’d all worked on it together and put in a lot of time and a lot of effort. It was a group effort, definitely.” So much so that an early attempt at taping “No Time” fell flat when session pros were brought in to augment The Monkees musically. In the end, it is a group-only version that graces Headquarters.
As sessions drew to a close, the group tackled Jack Keller and Diane Hildebrand’s moody “Early Morning Blues And Greens.” “‘Early Morning Blues And Greens’ was another kind of a bird,” recalled the late composer Jack Keller in 1991. “What happened on that was Diane had that lyric about the coffee steaming, and it just had a feeling, you know? [Musically,] I wrote that feel. I don’t think in my mind I remember writing that for The Monkees, but The Monkees ended up liking the song. I got a call from Lester Sill, a panicked call, ‘They’re in the studio, and they’re cutting the song, but they want to make a change in the music.’ So I said, ‘It’s okay. Go ahead.’ And they did. It’s different than the original. I had kept it on one level for quite a while, and then I went into the bridge and really went high. They couldn’t hear it staying at that level all of the way to the bridge. They wanted it to kind of rise up a little bit. So I said go ahead and do it. I like it to this day, that version. It’s pretty weird. They did a whole different feel on it, totally different than the original feel of the song.”
The final new song taped for the album came from the pen of Peter and was cutely titled “For Pete’s Sake.” Maybe Tork’s finest hour as a songwriter, the song’s lyric perfectly captured the spirit of the ‘60s. “The lyrics were just out of the air,” admits Tork. “It was basically just me playing these chords at my house, and my then-roommate, Joey Richards, was with me, and he threw in a couple of odds and ends of lines as I was going along. It just fell right into place. There was no particular reference, we weren’t thinking about anything much. The lyrics sound a little silly to me now, but it was okay. Mike played the seventh changes on the organ. [It was] my first song on a Monkees record and my first song that I had written.” Tork was further rewarded when an edited version of “For Pete’s Sake” replaced the standard “(Theme From) The Monkees” as their series end-title music for the show’s second season.
Sessions for Headquarters wrapped just as the group prepared for a Canadian concert tour. By the end of March everything was in place for a final playback of all they had worked so hard to achieve. “The night we finished,” remembers engineer Hank Cicalo, “the president of RCA was coming down to hear the album. The guy who was running the studio at the time, Charlie Pruzansky – who was my boss – came and looked at the room, and he said, ‘Gee, you guys, it’s a mess.’ Micky had come in with some Tempera paints and started painting the glass between the control room and the studio. This went on for weeks. What we had was this incredible piece of artwork, with everybody painting on the damn thing. I said, ‘Just leave it alone, Charlie, and don’t touch it. The guys want the painting on the wall, and they haven’t taken any pictures yet, so leave it alone.’ He said, ‘Well, okay, we’ll try and do that.’ Well, somebody else from the building maintenance came in and looked at the room because here’s the president of RCA coming with a bunch of bigwigs from New York. I came to the studio around three o’clock in the afternoon, walk in, and the place is spotless and the glass has been washed off. (The Monkees) walked in and they freaked. The president had to take all this abuse, nothing about the album, but about the fact that some idiot had come in and washed the glass off!”
Although Kirshner (and others) predicted a swift downfall for the group, Headquarters rose to the #1 spot on the Billboard charts on June 24, 1967. The following week it dropped to #2, where it sat for the next eleven weeks – the entire “Summer of Love” – right under The Beatles’ masterful Sgt. Pepper’s Lonely Hearts Club Band. As Dwight Whitney wrote in the end of his TV Guide piece, “There it was, right at the top of the charts, just one notch below The Beatles! Nesmith was pleased to recall that transcendental moment when, listening to the car radio, he heard the real genuine bona-fide Monkees doing their thing on “The Girl I Knew Somewhere.” Mike honked the horn impatiently for his wife. ‘Hey!’ he yelled, ‘want to sit in on a moment in history?’”
– Andrew Sandoval
Andrew Sandoval is the author of
The Monkees: The Day-By-Day Story Of The '60s TV Pop Sensation.
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Disc 1
THE ORIGINAL STEREO ALBUM
1. YOU TOLD ME
(Michael Nesmith)
Recorded at RCA Victor Studio B, Hollywood, CA (3/3/67);
RCA Victor Studio C, Hollywood, CA (3/9/67)
Featuring/MICHAEL NESMITH: lead vocals, 12-string guitar
PETER TORK: banjo, backing vocals
CHIP DOUGLAS: bass
MICKY DOLENZ: zither, drums, backing vocals
DAVY JONES: tambourine, backing vocals
2. I’LL SPEND MY LIFE WITH YOU
(Tommy Boyce/Bobby Hart)
Recorded at RCA Victor Studio C, Hollywood, CA (3/4/67, 3/9/67, 3/10/67, 3/11/67 & 3/18/67)
Featuring/MICKY DOLENZ: lead vocals, electric 6-string guitar
PETER TORK: harmony vocals, acoustic 12-string guitar, organ, celeste
MICHAEL NESMITH: pedal steel guitar
CHIP DOUGLAS: bass
DAVY JONES: tambourine
3. FORGET THAT GIRL
(Douglas Farthing Hatlelid)
Recorded at RCA Victor Studio C, Hollywood, CA (3/7/67, 3/8/67, 3/10/67 & 3/11/67)
Featuring/DAVY JONES: lead & backing vocals, maracas
MICHAEL NESMITH: electric 12-string guitar
PETER TORK: electric piano, backing vocals
CHIP DOUGLAS: bass, backing vocals
MICKY DOLENZ: drums, backing vocals
Unknown acoustic guitar
4. BAND 6
(David Jones/Michael Nesmith/Peter Tork/Micky Dolenz)
Recorded at RCA Victor Studio C, Hollywood, CA (3/2/67)
Featuring/PETER TORK: electric guitar
MICHAEL NESMITH: pedal steel guitar
CHIP DOUGLAS: bass
MICKY DOLENZ: drums
5. YOU JUST MAY BE THE ONE
(Michael Nesmith)
Recorded at RCA Victor Studio C, Hollywood, CA (3/16/67)
Featuring/MICHAEL NESMITH: lead vocals, electric 12-string guitar, acoustic guitar
MICKY DOLENZ: harmony & backing vocals, drums
PETER TORK: double-tracked bass, backing vocals
DAVY JONES: tambourine, backing vocals
CHIP DOUGLAS: backing vocals
6. SHADES OF GRAY
(Barry Mann/Cynthia Weil)
Recorded at RCA Victor Studio C, Hollywood, CA (3/16/67, 3/22/67 & 3/23/67)
Featuring/PETER TORK: lead & backing vocals, piano
DAVY JONES: lead vocals, maracas, tambourine
MICHAEL NESMITH: pedal steel guitar
JERRY YESTER: bass
MICKY DOLENZ: drums, backing vocals
VINCENT DeROSA: French horn
FREDERICK SEYKORA: cello
7. I CAN’T GET HER OFF MY MIND
(Tommy Boyce/Bobby Hart)
Recorded at RCA Victor Studio C, Hollywood, CA (3/17/67 & 3/19/67)
Featuring/DAVY JONES: lead vocals, percussion
MICHAEL NESMITH: electric 12-string guitar
PETER TORK: tack piano
JERRY YESTER: bass
MICKY DOLENZ: drums, backing vocals
8. FOR PETE’S SAKE
(Peter Tork/Joseph Richards)
Recorded at RCA Victor Studio C, Hollywood, CA (3/23/67)
Featuring/MICKY DOLENZ: lead & vocals, drums
MICHAEL NESMITH: electric 12-string guitar, organ
PETER TORK: electric guitar, backing vocals
CHIP DOUGLAS: bass
DAVY JONES: tambourine, backing vocals
Unknown additional electric guitar
9. MR. WEBSTER
(Tommy Boyce/Bobby Hart)
Recorded at RCA Victor Studio C, Hollywood, CA (2/24/67)
Featuring/MICKY DOLENZ: lead vocals, guitar
MICHAEL NESMITH: pedal steel guitar
PETER TORK: piano
JOHN LONDON: bass
DAVY JONES: tambourine, backing vocals
10. SUNNY GIRLFRIEND
(Michael Nesmith)
Recorded at RCA Victor Studio A, Hollywood, CA (2/23/67)
Featuring/MICHAEL NESMITH: lead vocals, electric 12-string guitar, acoustic guitar
MICKY DOLENZ: harmony vocals, drums
PETER TORK: electric 6-string guitar
JOHN LONDON: bass
DAVY JONES: maracas, backing vocals
11. ZILCH
(David Jones/Michael Nesmith/Peter Tork/Micky Dolenz)
Recorded at RCA Victor Studio C, Hollywood, CA (1967)
Featuring/MICKY DOLENZ, DAVY JONES, MICHAEL NESMITH & PETER TORK: spoken word
12. NO TIME
(Hank Cicalo)
Produced by Douglas Farthing Hatlelid
Recorded at RCA Victor Studio C, Hollywood, CA (3/28/67 & other dates)
Featuring/MICKY DOLENZ: lead vocals, drums
MICHAEL NESMITH: electric guitar
PETER TORK: piano
CHIP DOUGLAS: bass
DAVY JONES: tambourine, backing vocals
Unknown additional electric guitar, backing vocals
13. EARLY MORNING BLUES AND GREENS
(Diane Hildebrand/Jack Keller)
Recorded at RCA Victor Studio A, Hollywood, CA (3/22/67 & other dates)
Featuring/DAVY JONES: lead vocals, maracas
PETER TORK: harmony vocals, electric piano, organ
MICHAEL NESMITH: electric 12-string guitar
CHIP DOUGLAS: bass
MICKY DOLENZ: drums
Unknown additional percussion
14. RANDY SCOUSE GIT
(Micky Dolenz)
Recorded at RCA Victor Studio B, Hollywood, CA (3/2/67);
RCA Victor Studio C, Hollywood, CA (3/4/67 & 3/8/67)
Featuring/MICKY DOLENZ: lead vocals, drums, tympani, wood block
MICHAEL NESMITH: electric 12-string guitar
PETER TORK: piano, organ, backing vocals
CHIP DOUGLAS: bass
DAVY JONES: backing vocals
Bonus Material
15. ALL OF YOUR TOYS (Stereo Remix)
(Bill Martin)
Recorded at RCA Victor Studio A, Hollywood, CA (1/16/67, 1/19/67, 1/23/67 & 1/24/67);
RCA Victor Studio B, Hollywood, CA (1/30/67 & 1/31/67)
Featuring/MICKY DOLENZ: lead & backing vocals, drums
MICHAEL NESMITH: electric 12-string guitar, backing vocals
PETER TORK: harpsichord, backing vocals
JOHN LONDON: bass
DAVY JONES: tambourine, backing vocals
Previously unissued. A mono mix was first collected on the album Missing Links, Rhino #70150 (7/6/87)
16. THE GIRL I KNEW SOMEWHERE
(First Recorded Version / Stereo Remix)
(Michael Nesmith)
Recorded at RCA Victor Studio A, Hollywood, CA (1/16/67, 1/19/67, 1/23/67 & 1/24/67);
RCA Victor Studio B, Hollywood, CA (1/30/67 & 1/31/67)
Featuring/MICHAEL NESMITH: lead vocals, electric 12-string guitar
PETER TORK: acoustic guitar, harpsichord, backing vocals
JOHN LONDON: bass
MICKY DOLENZ: drums, backing vocals
DAVY JONES: tambourine, backing vocals
Previously unissued. A mono mix was first collected on the CD reissue of the album Headquarters, Rhino #71792 (1/24/95)
17. A LITTLE BIT ME, A LITTLE BIT YOU (Stereo Remix)
(Neil Diamond)
Produced by JEFF BARRY
Recorded at RCA VICTOR STUDIO B, New York, NY (1/21/67, 2/4/67, 2/6/67 & 2/8/67)
Featuring/DAVY JONES: lead vocals
AL GORGONI, HUGH McCRACKEN & DON THOMAS: guitar
STAN FREE: clavinet
ARTIE BUTLER: organ
LOU MAURO: bass
HERB LOVELLE: drums
TOM CERONE: tambourine
NEIL DIAMOND: backing vocals
Unknown hand claps & additional backing vocals
Previously unissued. A mono mix was originally issued as Colgems single #1004 (3/67); Pop #2
18. SHE HANGS OUT (Stereo Remix)
(Jeff Barry/Ellie Greenwich)
Produced by JEFF BARRY
Recorded at RCA VICTOR STUDIO B, New York, NY (1/21/67, 2/4/67, 2/5/67, 2/6/67 & 2/10/67)
Featuring/DAVY JONES: lead vocals
AL GORGONI, HUGH McCRACKEN & DON THOMAS: guitar
ARTIE BUTLER: organ
STAN FREE: clavinet
LOU MAURO: bass
HERB LOVELLE: drums
TOM CERONE: tambourine
Unknown backing vocals
Previously unissued. A mono mix was originally issued as Colgems (Canada) single #1003 (2/67) (withdrawn)
19. LOVE TO LOVE (Stereo Remix)
(Neil Diamond)
Produced by JEFF BARRY
Recorded at RCA VICTOR STUDIO B, New York, NY (1/21/67, 2/4/67 & 2/5/67);
RCA VICTOR STUDIOS, Hollywood, CA (8/5/69)
Featuring/DAVY JONES: vocals
ARTIE BUTLER: organ
STAN FREE: clavinet
AL GORGONI, HUGH McCRACKEN & DON THOMAS: guitar
LOUIS MAURO: bass
HERB LOVELLE: drums
TOM CERONE: tambourine
Previously unissued. A mono mix was first collected on the album Monkeemania: 40 Timeless Hits From The Monkees, Arista/EMI (Australia) #1/2 (10/79)
20. YOU CAN’T TIE A MUSTANG DOWN (Stereo Remix)
(Jeff Barry)
Produced by JEFF BARRY
Recorded at RCA VICTOR STUDIO B, New York, NY (1/21/67 & 2/4/67);
RCA VICTOR STUDIOS, Hollywood, CA (8/5/69)
Featuring/DAVY JONES: lead vocals
ARTIE BUTLER: organ
AL GORGONI, HUGH McCRACKEN & DON THOMAS: guitar
LOU MAURO: bass
HERB LOVELLE: drums
TOM CERONE: tambourine
Previously unissued. A mono mix was first collected on the album Daydream Believer And Other Hits, Flashback #75242 (3/17/98)
21. IF I LEARNED TO PLAY THE VIOLIN (Stereo Remix)
(Joey Levine/Artie Resnick)
Produced by JEFF BARRY
Recorded at RCA VICTOR STUDIO B, New York, NY (1/26/67 & 2/4/67)
Featuring/DAVY JONES: vocals
SAL DiTROIA, HUGH McCRACKEN & DON THOMAS: guitar
ARTIE BUTLER: organ
STAN FREE: clavinet
JAMES TYRELL: bass
HERB LOVELLE: drums
TOM CERONE: tambourine
Previously unissued. An alternate mix was first collected on the CD-ROM Hey, Hey, We’re The Monkees, Rhino #90172 (11/10/96)
22. 99 POUNDS (Stereo Remix)
(Jeff Barry)
Produced by JEFF BARRY
Recorded at RCA VICTOR STUDIO B, New York, NY (1/21/67, 2/4/67, 2/6/67 & 2/8/67)
Featuring/DAVY JONES: vocals
AL GORGONI, HUGH McCRACKEN & DON THOMAS: guitar
ARTIE BUTLER: organ
STAN FREE: clavinet
LOU MAURO: bass
HERB LOVELLE: drums
TOM CERONE: tambourine
Unknown backing vocals, hand claps
Previously unissued. A mono mix was included on the album Changes, Colgems #119 (6/70)
23. THE GIRL I KNEW SOMEWHERE
(Single Version / Stereo Remix)
(Michael Nesmith)
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (2/23/67)
Featuring/MICKY DOLENZ: lead & backing vocals, drums
MICHAEL NESMITH: electric & acoustic 12-string guitar, backing vocals
PETER TORK: harpsichord, backing vocals
JOHN LONDON: bass, tambourine
Previously unissued. A mono mix was originally issued as Colgems single #1004 (3/67); Pop #39
24. RANDY SCOUSE GIT
(Micky Dolenz)
Recorded at RCA Victor Studio B, Hollywood, CA (3/2/67)
Featuring/MICKY DOLENZ: lead vocals, drums, tympani, wood block
MICHAEL NESMITH: electric 12-string guitar
PETER TORK: piano, backing vocals
CHIP DOUGLAS: bass
Originally unissued. First collected on the album Headquarters Sessions, Rhino Handmade #07715 (6/19/00) [limited edition]
25. TEMA DEI MONKEES (Stereo Remix)
(Nistri/Tommy Boyce/Bobby Hart)
A COLGEMS Production
Recorded in Hollywood, CA (7/66 or 8/66 & 3/67)
Featuring/MICKY DOLENZ: lead & backing vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: guitar
LARRY TAYLOR: bass
BILLY LEWIS: drums
GENE ESTES: tambourine
Previously unissued. An extended mono mix was originally issued as RCA (Italy) single #1546 (1968)
_________________________________________________
Disc 2
THE ORIGINAL MONO ALBUM
1. YOU TOLD ME
(Michael Nesmith)
Recorded at RCA Victor Studio B, Hollywood, CA (3/3/67);
RCA Victor Studio C, Hollywood, CA (3/9/67)
Featuring/MICHAEL NESMITH: lead vocals, 12-string guitar
PETER TORK: banjo, backing vocals
CHIP DOUGLAS: bass
MICKY DOLENZ: zither, drums, backing vocals
DAVY JONES: tambourine, backing vocals
2. I’LL SPEND MY LIFE WITH YOU
(Tommy Boyce/Bobby Hart)
Recorded at RCA Victor Studio C, Hollywood, CA (3/4/67, 3/9/67, 3/10/67, 3/11/67 & 3/18/67)
Featuring/MICKY DOLENZ: lead vocals, electric 6-string guitar
PETER TORK: harmony vocals, acoustic 12-string guitar, organ, celeste
MICHAEL NESMITH: pedal steel guitar
CHIP DOUGLAS: bass
DAVY JONES: tambourine
3. FORGET THAT GIRL
(Douglas Farthing Hatlelid)
Recorded at RCA Victor Studio C, Hollywood, CA (3/7/67, 3/8/67, 3/10/67 & 3/11/67)
Featuring/DAVY JONES: lead & backing vocals, maracas
MICHAEL NESMITH: electric 12-string guitar
PETER TORK: electric piano, backing vocals
CHIP DOUGLAS: bass, backing vocals
MICKY DOLENZ: drums, backing vocals
Unknown acoustic guitar
4. BAND 6
(David Jones/Michael Nesmith/Peter Tork/Micky Dolenz)
Recorded at RCA Victor Studio C, Hollywood, CA (3/2/67)
Featuring/PETER TORK: electric guitar
MICHAEL NESMITH: pedal steel guitar
CHIP DOUGLAS: bass
MICKY DOLENZ: drums
5. YOU JUST MAY BE THE ONE
(Michael Nesmith)
Recorded at RCA Victor Studio C, Hollywood, CA (3/16/67)
Featuring/MICHAEL NESMITH: lead vocals, electric 12-string guitar, acoustic guitar
MICKY DOLENZ: harmony & backing vocals, drums
PETER TORK: double-tracked bass, backing vocals
DAVY JONES: tambourine, backing vocals
CHIP DOUGLAS: backing vocals
6. SHADES OF GRAY
(Barry Mann/Cynthia Weil)
Recorded at RCA Victor Studio C, Hollywood, CA (3/16/67, 3/22/67 & 3/23/67)
Featuring/PETER TORK: lead & backing vocals, piano
DAVY JONES: lead vocals, maracas, tambourine
MICHAEL NESMITH: pedal steel guitar
JERRY YESTER: bass
MICKY DOLENZ: drums, backing vocals
VINCENT DeROSA: French horn
FREDERICK SEYKORA: cello
7. I CAN’T GET HER OFF MY MIND
(Tommy Boyce/Bobby Hart)
Recorded at RCA Victor Studio C, Hollywood, CA (3/17/67 & 3/19/67)
Featuring/DAVY JONES: lead vocals, percussion
MICHAEL NESMITH: electric 12-string guitar
PETER TORK: tack piano
JERRY YESTER: bass
MICKY DOLENZ: drums, backing vocals
8. FOR PETE’S SAKE
(Peter Tork/Joseph Richards)
Recorded at RCA Victor Studio C, Hollywood, CA (3/23/67)
Featuring/MICKY DOLENZ: lead & vocals, drums
MICHAEL NESMITH: electric 12-string guitar, organ
PETER TORK: electric guitar, backing vocals
CHIP DOUGLAS: bass
DAVY JONES: tambourine, backing vocals
Unknown additional electric guitar
9. MR. WEBSTER
(Tommy Boyce/Bobby Hart)
Recorded at RCA Victor Studio C, Hollywood, CA (2/24/67)
Featuring/MICKY DOLENZ: lead vocals, guitar
MICHAEL NESMITH: pedal steel guitar
PETER TORK: piano
JOHN LONDON: bass
DAVY JONES: tambourine, backing vocals
10. SUNNY GIRLFRIEND
(Michael Nesmith)
Recorded at RCA Victor Studio A, Hollywood, CA (2/23/67)
Featuring/MICHAEL NESMITH: lead vocals, electric 12-string guitar, acoustic guitar
MICKY DOLENZ: harmony vocals, drums
PETER TORK: electric 6-string guitar
JOHN LONDON: bass
DAVY JONES: maracas, backing vocals
11. ZILCH
(David Jones/Michael Nesmith/Peter Tork/Micky Dolenz)
Recorded at RCA Victor Studio C, Hollywood, CA (1967)
Featuring/MICKY DOLENZ, DAVY JONES, MICHAEL NESMITH & PETER TORK: spoken word
12. NO TIME
(Hank Cicalo)
Produced by Douglas Farthing Hatlelid
Recorded at RCA Victor Studio C, Hollywood, CA (3/28/67 & other dates)
Featuring/MICKY DOLENZ: lead vocals, drums
MICHAEL NESMITH: electric guitar
PETER TORK: piano
CHIP DOUGLAS: bass
DAVY JONES: tambourine, backing vocals
Unknown additional electric guitar, backing vocals
13. EARLY MORNING BLUES AND GREENS
(Diane Hildebrand/Jack Keller)
Recorded at RCA Victor Studio A, Hollywood, CA (3/22/67 & other dates)
Featuring/DAVY JONES: lead vocals, maracas
PETER TORK: harmony vocals, electric piano, organ
MICHAEL NESMITH: electric 12-string guitar
CHIP DOUGLAS: bass
MICKY DOLENZ: drums
Unknown additional percussion
14. RANDY SCOUSE GIT
(Micky Dolenz)
Recorded at RCA Victor Studio B, Hollywood, CA (3/2/67);
RCA Victor Studio C, Hollywood, CA (3/4/67 & 3/8/67)
Featuring/MICKY DOLENZ: lead vocals, drums, tympani, wood block
MICHAEL NESMITH: electric 12-string guitar
PETER TORK: piano, organ, backing vocals
CHIP DOUGLAS: bass
DAVY JONES: backing vocals
Bonus Material
15. ALL OF YOUR TOYS (Mono Mix)
(Bill Martin)
Recorded at RCA Victor Studio A, Hollywood, CA (1/16/67, 1/19/67, 1/23/67 & 1/24/67);
RCA Victor Studio B, Hollywood, CA (1/30/67 & 1/31/67)
Featuring/MICKY DOLENZ: lead & backing vocals, drums
MICHAEL NESMITH: electric 12-string guitar, backing vocals
PETER TORK: harpsichord, backing vocals
JOHN LONDON: bass
DAVY JONES: tambourine, backing vocals
Originally unissued. First collected on the CD reissue of the album Headquarters, Rhino #71792 (1/24/95)
16. THE GIRL I KNEW SOMEWHERE
(First Recorded Version / Alternate Mono Mix)
(Michael Nesmith)
Recorded at RCA Victor Studio A, Hollywood, CA (1/16/67, 1/19/67, 1/23/67 & 1/24/67);
RCA Victor Studio B, Hollywood, CA (1/30/67 & 1/31/67)
Featuring/MICHAEL NESMITH: lead vocals, electric 12-string guitar
PETER TORK: acoustic guitar, harpsichord, backing vocals
JOHN LONDON: bass
MICKY DOLENZ: drums, backing vocals
DAVY JONES: tambourine, backing vocals
Previously unissued. A different mono mix was first collected on the CD reissue of the album Headquarters, Rhino #71792 (1/24/95)
17. A LITTLE BIT ME, A LITTLE BIT YOU (Mono Single Mix)
(Neil Diamond)
Produced by JEFF BARRY
Recorded at RCA VICTOR STUDIO B, New York, NY (1/21/67, 2/4/67, 2/6/67 & 2/8/67)
Featuring/DAVY JONES: lead vocals
AL GORGONI, HUGH McCRACKEN & DON THOMAS: guitar
ARTIE BUTLER: organ
STAN FREE: clavinet
LOU MAURO: bass
HERB LOVELLE: drums
TOM CERONE: tambourine
NEIL DIAMOND: backing vocals
Unknown hand claps & additional backing vocals
Originally issued as Colgems single #1004 (3/67); Pop #2
18. SHE HANGS OUT (Mono Single Mix)
(Jeff Barry/Ellie Greenwich)
Produced by JEFF BARRY
Recorded at RCA VICTOR STUDIO B, New York, NY (1/21/67, 2/4/67, 2/5/67, 2/6/67 & 2/10/67)
Featuring/DAVY JONES: lead vocals
AL GORGONI, HUGH McCRACKEN & DON THOMAS: guitar
ARTIE BUTLER: organ
STAN FREE: clavinet
LOU MAURO: bass
HERB LOVELLE: drums
TOM CERONE: tambourine
Unknown backing vocals
Originally issued as Colgems (Canada) single #1003 (2/67) (withdrawn). First collected on the album Monkeemania: 40 Timeless Hits From The Monkees, Arista/EMI (Australia) #1/2 (10/79)
19. THE GIRL I KNEW SOMEWHERE (Mono Single Mix)
(Michael Nesmith)
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (2/23/67)
Featuring/MICKY DOLENZ: lead & backing vocals, drums
MICHAEL NESMITH: electric & acoustic 12-string guitar, backing vocals
PETER TORK: harpsichord, backing vocals
JOHN LONDON: bass, tambourine
Originally issued as Colgems single #1004 (3/67); Pop #39
20. NINE TIMES BLUE (Demo Version)
(Michael Nesmith)
Recorded at RCA Victor Studios, Hollywood, CA (1967)
Featuring/MICHAEL NESMITH: lead vocals, acoustic 12-string guitar
Originally unissued. First collected on the CD reissue of the album Headquarters, Rhino #71792 (1/24/95)
21. SHE’LL BE THERE
(composer unknown)
Recorded at RCA Victor Studios, Hollywood, CA (2/67)
Featuring/MICKY DOLENZ: lead vocals, acoustic guitar
COCO DOLENZ: harmony vocals
Originally unissued. First collected on the album Missing Links, Volume Three, Rhino #72153 (3/26/96)
22. MIDNIGHT TRAIN (Demo Version)
(Micky Dolenz)
Recorded at RCA Victor Studios, Hollywood, CA (2/67)
Featuring/MICKY DOLENZ: lead vocals, acoustic guitar
COCO DOLENZ: harmony vocals
Originally unissued. First collected on the album Missing Links, Volume Three, Rhino #72153 (3/26/96)
23. PETER GUNN’S GUN
(Henry Mancini)
Recorded at RCA Victor Studios, Hollywood, CA (3/67)
Featuring/MICHAEL NESMITH: pedal steel guitar
PETER TORK: piano
CHIP DOUGLAS or JERRY YESTER: bass
MICKY DOLENZ: drums
DAVY JONES: tambourine
Originally unissued. First collected on the CD reissue of the album Headquarters, Rhino #71792 (1/24/95)
24. JERICHO
(trad.)
Recorded at RCA Victor Studio C, Hollywood, CA (3/11/67)
Featuring/MICKY DOLENZ & PETER TORK: spoken word
Originally unissued. First collected on the CD reissue of the album Headquarters, Rhino #71792 (1/24/95)
25. PILLOW TIME (Demo Version)
(Janelle Scott/Matt Willis)
Recorded at RCA Victor Studios, Hollywood, CA (3/14/67)
Featuring/MICKY DOLENZ: lead vocals, zither
Originally unissued. First collected on the CD reissue of the album Headquarters, Rhino #71792 (1/24/95)
Headquarters was originally issued as Colgems #103 (5/67).
NOTE: Numbers in italics (following original single release information) denote peak positions obtained on Billboard’s “Hot 100” chart – courtesy BPI Communications and Joel Whitburn’s Record Research Publications.
__________________________________________________
Produced by DOUGLAS FARTHING HATLELID
Engineered by HANK CICALO
Bonus Material Produced by DOUGLAS FARTHING HATLELID & JEFF BARRY
Known Engineers: DICK BOGERT, RICHIE SCHMITT, HANK CICALO & RAY HALL
Reissue Produced for Release by ANDREW SANDOVAL & BILL INGLOT
Remastering: DAN HERSCH, ANDREW SANDOVAL & BILL INGLOT at DIGIPREP
Product Manager: MATT ABELS
Discographical Annotation Courtesy of the Book The Monkees: The Day-By-Day Story Of The ‘60s TV Pop Sensation (ISBN 1-59223-372-4)
Editorial Supervision: SHERYL FARBER
Reissue Art Direction & Design: STEVE STANLEY
Business Affairs: GREGG GOLDMAN
Photo Research: STEVEN P. GORMAN & ALESSANDRA QUARANTA
Unless Otherwise Credited, all Photos © RHINO/RAYBERT COLLECTION
Project Assistance: REGGIE COLLINS, KAREN LeBLANC, BRIAN KOMETA, JASON SPITZ & JAMES O'TOOLE
Special Thanks: MICHAEL NESMITH, PETER TORK, DAVY JONES, MICKY DOLENZ, TOMMY BOYCE, JACK KELLER, CHIP DOUGLAS, CARMEN FANZONE, GARY STROBL, HENRY DILTZ, MARK EASTER, BERNARD YESZIN, LESTER SILL & DON KIRSHNER
Text Monkees to 74466 for official Monkees mobile content*
* Requires compatible handset and service through participating carriers. Standard text messaging rates apply. See your contract for details. Available content subject to change at any time. © 2006 Rhino Entertainment Company
All selections controlled by Rhino Entertainment Company. “ALL OF YOUR TOYS” (Stereo Remix), “THE GIRL I KNEW SOMEWHERE” (First Recorded Version/Stereo Remix), “A LITTLE BIT ME, A LITTLE BIT YOU” (Stereo Remix), “SHE HANGS OUT” (Stereo Remix), “LOVE TO LOVE” (Stereo Remix), “YOU CAN’T TIE A MUSTANG DOWN” (Stereo Remix), “IF I LEARNED TO PLAY THE VIOLIN” (Stereo Remix), “99 POUNDS” (Stereo Remix), “THE GIRL I KNEW SOMEWHERE” (Single Version/Stereo Remix), “TEMA DEI MONKKEES” (Stereo Remix) & “THE GIRL I KNEW SOMEWHERE” (First Recorded Version/Alternate Mono Mix) (P) 2007 Rhino Entertainment Company; “RANDY SCOUSE GIT” (Alternate Version) (P) 2000 Rhino Entertainment Company; “ALL OF YOUR TOYS” (Mono Mix), “NINE TIMES BLUE” (Demo Version), “PETER GUNN’S GUN,” “JERICHO” & “PILLOW TIME” (Demo Version) (P) 1995 Rhino Entertainment Company; “SHE’LL BE THERE” & “MIDNIGHT TRAIN” (Demo Version) (P) 1996 Rhino Entertainment Company.
This Compilation (P) 2006 Rhino Entertainment Company, a Warner Music Group Company.
It’s Time To Play Some “D”
Earth has been pretty sporting so far – but unless we start playing some defense, we’re going to have to move this game to another planet. Did you know that the rate of extinction of species is at least 100 times higher than it was in the preindustrial era? Alarming truths like that gave rise to Environmental Defense, a nonprofit organization that, since 1967, has linked science, economics, and law to create innovative, equitable, and cost-effective solutions to the most urgent environmental problems – the need to stabilize our climate, safeguard the world’s oceans, protect human health, and save endangered species. Get more information – or get involved – at:
ENVIRONMENTAL DEFENSE
257 Park Avenue South, New York, NY 10010
(212) 505-2100 www.environmentaldefense.org
